By Günter Figal
Connecting aesthetic event with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork skill for cognition, reputation, and affect—how artwork alterations our daily disposition or habit. Günter Figal engages in a penetrating research of the instant at which, in our contemplation of a piece of artwork, response and concept confront one another. For these proficient within the visible arts and for extra informal audience, Figal unmasks artwork as a decentering event that opens extra chances for figuring out our lives and our global.
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Connecting aesthetic event with our adventure of nature or with different cultural artifacts, Aesthetics as Phenomenology specializes in what artwork capability for cognition, popularity, and affect—how artwork adjustments our daily disposition or habit. Günter Figal engages in a penetrating research of the instant at which, in our contemplation of a piece of artwork, response and inspiration confront one another.
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Additional resources for Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought)
It seems to place the philosophical observation of art in a circle; philosophical observation apparently needs to assume the art-character of the works that it considers, yet it is precisely tasked with first clarifying this character. If there are no historical criteria for the philosophical observation of art, in the sense of the classical or the radically modern, then there remains only the possibility of a universal, formal determination of the art-character of art that is free from historical presuppositions.
But the experience of art exceeds normal hermeneutical experience in that the significance and meaning essentially lead to astonishment. Because of this, an artwork as such cannot be experienced by simply viewing it in light of its significance and meaningfulness. In its emphatic existence that is never a matter of course, the experience of art always also belongs to the artwork as such. The work is consciously present to any adequate experience as an artwork; the significance and meaningfulness that are disclosed through the work are always those of an artwork that is transparent in its art-character.
There is a reason Adorno always emphasizes the sudden, discontinuous aspect of authentic art. . ] the catastrophe of the moment that ruptures temporal continuity” (41), in which a sense lights up that is inaccessible to the present. Like Gadamer, then, Adorno proves to be Kierkegaardian. 40 The inexhaustibility that Adorno portrays in modern art is also an aspect of classical art, if one follows Gadamer. ”41 That which has always again been illuminating will hardly exhaust its “sayingpower” in the present.
Aesthetics as Phenomenology: The Appearance of Things (Studies in Continental Thought) by Günter Figal